Greek Architecture: Doric, Ionic, or Corinthian? - dummies Greek Architecture: Doric, Ionic, or Corinthian? Greek Architecture: Doric, Ionic, or Corinthian? Greek Architecture: Doric, Ionic, or Corinthian? By Deborah K. Dietsch, Robert A. M. Stern For the Greeks, temples were not only places to worship the gods but also impressive symbols of their society and culture. They were built as focal points on the highest ground of every city in Greece and the conquered territories around the Mediterranean. Beneath the temples spread public meeting places, civic buildings, gymnasiums, stadiums, theaters, and housing. Today, the remains of Greek cities can be found in Italy, Sicily, and Turkey. One of the reasons that they have lasted so long is that the Greeks built their temples, amphitheaters, and other major public buildings with limestone and marble. Blocks of stone were held in place by bronze or iron pins set into molten lead — a flexible system that could withstand earthquakes. Greek architecture followed a highly structured system of proportions that relates individual architectural components to the whole building. This system was developed according to three styles, or orders.

Each order consists of an upright support called a column that extends from a base at the bottom to a shaft in the middle and a capital at the top — much like the feet, body, and head of the human figure. The capital was often a stylized representation of natural forms, such as animal horns or plant leaves. It, in turn, supports a horizontal element called the entablature, which is divided further into three different parts: The architrave (lowest part) The frieze (middle) The cornice (top) These elements, in turn, were further elaborated with decorative moldings and ornamentation (see Figure 1). Each component of a classical order was sized and arranged according to an overall proportioning system based on the height and diameter of the columns. Figure 1: Parts of a column. The Greeks first constructed their orders with wood, and then switched to stone using the same forms. The ends of the wooden beams holding up the roof, for example, were translated into stone as a decorative element, called a triglyph (“three grooves”), in the entablature above the column capital. The Greeks started out using only one order per building.

But after a few hundred years, they got more creative and sometimes used one order for the exterior and another for the interior. The proportions of the orders were developed over a long period of time — they became lighter and more refined. Some folks think that the orders are primarily a question of details, moldings, and characteristic capitals. However, in fact, the very concept of order and an overall relationship is really the most important thing here. Each of the orders is a proportional system or a range of proportions for the entire structure. Doric: Heavy simplicity The oldest, simplest, and most massive of the three Greek orders is the Doric, which was applied to temples beginning in the 7th century B.C. As shown in Figure 2, columns are placed close together and are often without bases. Their shafts are sculpted with concave curves called flutes. The capitals are plain with a rounded section at the bottom, known as the echinus, and a square at the top, called the abacus. The entablature has a distinctive frieze decorated with vertical channels, or triglyphs. In between the triglyphs are spaces, called metopes, which were commonly sculpted with figures and ornamentation.

The frieze is separated from the architrave by a narrow band called the regula. Together, these elements formed a rectangular structure surrounded by a double row of columns that conveyed a bold unity. The Doric order reached its pinnacle of perfection in the Parthenon. Figure 2: Doric order. Ionic: The Ionic Sea Scrolls? The next order to be developed by the Greeks was the Ionic (see Figure 3). It is called Ionic because it developed in the Ionian islands in the 6th century B.C. Roman historian Vitruvius compared this delicate order to a female form, in contrast to the stockier “male” Doric order. The Ionic was used for smaller buildings and interiors. It’s easy to recognize because of the two scrolls, called volutes, on its capital. The volutes may have been based on nautilus shells or animal horns. Between the volutes is a curved section that is often carved with oval decorations known as egg and dart. Above the capital, the entablature is narrower than the Doric, with a frieze containing a continuous band of sculpture.

One of the earliest and most striking examples of the Ionic order is the tiny Temple to Athena Nike at the entrance to the Athens Acropolis. It was designed and built by Callicrates from about 448-421 B.C. Figure 3: Ionic order. Corinthian: Leafy but not as popular The third order is the Corinthian, which wasn’t used much by the Greeks. It is named after the city of Corinth, where sculptor Callimachus supposedly invented it by at the end of the 5th century B.C. after he spotted a goblet surrounded by leaves. As shown in Figure 4, the Corinthian is similar to the Ionic order in its base, column, and entablature, but its capital is far more ornate, carved with two tiers of curly acanthus leaves. The oldest known Corinthian column stands inside the 5th-century temple of Apollo Epicurius at Bassae. Figure 4: Corinthian order. Compensating for illusions: Straight or curved, who knew? The Greeks continued to strive for perfection in the appearance of their buildings.

To make their columns look straight, they bowed them slightly outward to compensate for the optical illusion that makes vertical lines look curved from a distance. They named this effect entasis, which means “to strain” in Greek. Relationships between columns, windows, doorways, and other elements were constantly analyzed to find pleasing dimensions that were in harmony with nature and the human body. Symmetry and the unity of parts to the whole were important to Greek architecture, as these elements reflected the democratic city-state pioneered by the Greek civilization. Greek architectural orders (article) | Khan Academy Greek architectural orders Email An architectural order describes a style of building. In Classical architecture, each order is readily identifiable by means of its proportions and profiles as well as by various aesthetic details. The style of column employed serves as a useful index of the style itself, so identifying the order of the column will then, in turn, situate the order employed in the structure as a whole. The classical orders—described by the labels Doric, Ionic, and Corinthian—do not merely serve as descriptors for the remains of ancient buildings but as an index to the architectural and aesthetic development of Greek architecture itself.

The Doric order Doric order Doric order The Doric order is the earliest of the three Classical orders of architecture and represents an important moment in Mediterranean architecture when monumental construction made the transition from impermanent materials—like wood—to permanent materials, namely stone. The Doric order is characterized by a plain, unadorned column capital and a column that rests directly on the stylobate of the temple without a base. The Doric entablature includes a frieze composed of trigylphs—vertical plaques with three divisions—and metopes—square spaces for either painted or sculpted decoration. The columns are fluted and are of sturdy, if not stocky, proportions. Iktinos and Kallikrates, The Parthenon, Athens, 447 – 432 B.C.E. Iktinos and Kallikrates, The Parthenon, 447-432 BCE, Athens The Doric order emerged on the Greek mainland during the course of the late seventh century BCE and remained the predominant order for Greek temple construction through the early fifth century BCE, although notable buildings built later in the the Classical period—especially the canonical Parthenon in Athens—still employed it.

By 575 BCE, the order may be properly identified, with some of the earliest surviving elements being the metope plaques from the Temple of Apollo at Thermon. Other early, but fragmentary, examples include the sanctuary of Hera at Argos, votive capitals from the island of Aegina, as well as early Doric capitals that were a part of the Temple of Athena Pronaia at Delphi in central Greece. The Doric order finds perhaps its fullest expression in the Parthenon, c. 447-432 BCE., at Athens designed by Iktinos and Kallikrates. The Ionic order North Porch of the Erechtheion, 421-407 B.C.E., marble, Acropolis, Athens Ionic capital, north porch of the Erechtheion, 421-407 BCE, marble, Acropolis, Athens Ionic order Ionic order As its names suggests, the Ionic order originated in Ionia, a coastal region of central Anatolia—today Turkey—where a number of ancient Greek settlements were located. Volutes, scroll-like ornaments, characterize the Ionic capital, and a base supports the column, unlike the Doric order.

The Ionic order developed in Ionia during the mid-sixth century BCE and had been transmitted to mainland Greece by the fifth century BCE. Among the earliest examples of the Ionic capital is the inscribed votive column from Naxos, dating to the end of the seventh century BCE. The monumental temple dedicated to Hera on the island of Samos, built by the architect Rhoikos c. 570-560 BCE, was the first of the great Ionic buildings, although it was destroyed by earthquake in short order. The sixth century BCE Temple of Artemis at Ephesus, a wonder of the ancient world, was also an Ionic design. In Athens, the Ionic order influenced some elements of the Parthenon, 447-432 BCE, notably the Ionic frieze that encircles the cella of the temple. Ionic columns are also employed in the interior of the monumental gateway to the Acropolis, known as the Propylaia, c. 437-432 BCE. The Ionic was promoted to an exterior order in the construction of the Erechtheion, c. 421-405 BCE, on the Athenian Acropolis, image below.

North porch of the Erechtheion, 421-407 B.C.E., marble, Acropolis, Athens North porch of the Erechtheion, 421-407 BCE, marble, Acropolis, Athens The Ionic order is notable for its graceful proportions, which produce a more slender and elegant profile than the Doric order. The ancient Roman architect Vitruvius compared the Doric module to a sturdy, male body, while the Ionic was possessed of more graceful, feminine proportions. The Ionic order incorporates a running frieze of continuous sculptural relief, as opposed to the Doric frieze composed of triglyphs and metopes. The Greek orders Corinthian capital Corinthian capital The Corinthian order is both the latest and the most elaborate of the Classical orders of architecture. This order was employed in both Greek and Roman architecture with minor variations and gave rise, in turn, to the Composite order. As the name suggests, the origins of the order were connected in antiquity with the Greek city-state of Corinth, where, according to the architectural writer Vitruvius, the sculptor Callimachus drew a set of acanthus leaves surrounding a votive basket (Vitr.

4.1.9-10). In archaeological terms, the earliest known Corinthian capital comes from the Temple of Apollo Epicurius at Bassae and dates to c. 427 BCE. Acanthus leaf Acanthus leaf The defining element of the Corinthian order is its elaborate, carved capital, which incorporates even more vegetal elements than the Ionic order does. The stylized, carved leaves of an acanthus plant grow around the capital, generally terminating just below the abacus. The Romans favored the Corinthian order, perhaps due to its slender properties. The order is employed in numerous notable Roman architectural monuments, including the Temple of Mars Ultor, the Pantheon in Rome, and the Maison Carrée in Nîmes. Legacy of the Greek architectural canon The canonical Greek architectural orders have exerted influence on architects and their imaginations for thousands of years. While Greek architecture played a key role in inspiring the Romans, its legacy also stretches far beyond antiquity.

When James “Athenian” Stuart and Nicholas Revett visited Greece during the period from 1748 to 1755 and subsequently published The Antiquities of Athens and Other Monuments of Greece, 1762, in London, the Neoclassical revolution was underway. Captivated by Stuart and Revett’s measured drawings and engravings, Europe suddenly demanded Greek forms. Architects like Robert Adam drove the Neoclassical movement, creating buildings such as Kedleston Hall, an English country house in Kedleston, Derbyshire. Neoclassicism even jumped the Atlantic Ocean to North America, spreading the rich heritage of Classical architecture even further—and making the Greek architectural orders not only extremely influential, but eternal. Text by Dr. Jeffrey A. Becker Additional resources Barletta, Barbara A. The Origins of the Greek Architectural Orders. Cambridge: Cambridge University Press, 2001. H. Berve, G. Gruben and M. Hirmer. Greek Temples, Theatres, and Shrine s. New York: H. N. Abrams, 1963. Cooper, Frederick A., and Brian Christopher. Madigan.

The Temple of Apollo Bassitas: In Four Volumes. Princeton, NJ: American School of Classical Studies at Athens, 1992. Coulton, J. J. Ancient Greek Architects at Work: Problems of Structure and Design. Ithaca NY: Cornell University Press, 1982. Dinsmoor, W. B. The Architecture of Greece: an Account of its Historic Development. 3rd ed. London: Batsford, 1950. Dinsmoor, W. B. The Propylaia to the Athenian Akropolis, 1: The predecessors. Princeton NJ: American School of Classical Studies at Athens, 1980. Gros, P.Vitruve et la tradition des traités d'architecture: fabrica et ratiocinatio: recueil d'études. Rome: École française de Rome, 2006. Gruben, G. "Naxos Und Delos. Studien Zur Archaischen Architektur Der Kykladen." Jahrbuch Des Deutschen Archäologischen Instituts 112, no.

1997, 261-416. Hellmann, Marie-Christine. L’architecture Grecque 3 vol. Paris: Picard, 2002-2010. Hoffmann, A. E.-L. Schwander, W. Hoepfner, and G. Brands, eds. Bautechnik der Antike: Internationales Kolloquium in Berlin vom 15.-17. Februar 1990 (Diskussionen zur archäologischen Bauforschung; 5). Mainz am Rhein: P. von Zabern, 1991. Korres, M. From Pentelicon to the Parthenon: The Ancient Quarries and the Story of a Half-Worked Column Capital of the First Marble Parthenon. Athens: Melissa Publishing House, 1995. Korres, M. Stones of the Parthenon. Los Angeles: J. Paul Getty Museum, 2000. Lawrence, A. W. Greek Architecture. 5th ed. New Haven: Yale University Press, 1996.

Robertson, D. S. Greek and Roman Architecture. 2nd ed. Cambridge: Cambridge University Press, 1969. Rykwert, J.The Dancing Column: On Order in Architecture. Cambridge, Mass.: MIT Press, 1996. Schwandner, E.-L. and G. Gruben. Säule und Gebälk: zu Struktur und Wandlungsprozess griechisch-römischer Architektur: Bauforschungskolloquium in Berlin vom 16. bis 18. Juni 1994. Mainz am Rhein: Verlag Philipp von Zabern, 1996. Jones, M. Wilson. “Designing the Roman Corinthian Order,” Journal of Roman Archaeology 2, 1989, 35-69. Glossary Classical Orders of Architecture Doric DESCRIPTION: Of the three columns found in Greece, Doric columns are the simplest. They have a capital (the top, or crown) made of a circle topped by a square. The shaft (the tall part of the column) is plain and has 20 sides.

There is no base in the Doric order. The Doric order is very plain, but powerful-looking in its design. Doric, like most Greek styles, works well horizontally on buildings, that's why it was so good with the long rectangular buildings made by the Greeks. The area above the column, called the frieze [pronounced "freeze"], had simple patterns. Above the columns are the metopes and triglyphs. The metope [pronounced "met-o-pee"] is a plain, smooth stone section between triglyphs. Sometimes the metopes had statues of heroes or gods on them. The triglyphs are a pattern of 3 vertical lines between the metopes. There are many examples of ancient Doric buildings. Perhaps the most famous one is the Parthenon in Athens, which is probably the most famous and most studied building on Earth. Buildings built even now borrow some parts of the Doric order. The Parthenon The Hephaisteion, in Athens, is another good example of the Doric order. In this picture, you can clearly see the parts of the Doric order described above and shown in the illustration to the left. This building is the Carnegie Library on the the campus of Johnson C.

Smith Universiry in West Charlotte. The front entry has a Doric cornice and columns with Doric capitals. Along the entire building is a frieze with triglyphs and metopes. Designs like this, which are inspired by ancient buildings, are know as neoclassical. Ionic DESCRIPTION: Ionic shafts were taller than Doric ones. This makes the columns look slender. They also had flutes, which are lines carved into them from top to bottom. The shafts also had a special characteristic: entasis, which is a little bulge in the columns make the columns look straight, even at a distance [because since you would see the building from eye level, the shafts would appear to get narrower as they rise, so this bulge makes up for that - so it looks straight to your eye but it really isn't !] . The frieze is plain. The bases were large and looked like a set of stacked rings. Ionic capitals consist of a scrolls above the shaft. The Ionic style is a little more decorative than the Doric. The Temple of Athena Nike in Athens, shown above, is one of the most famous Ionic buildings in the world.

It is located on the Acropolis, very close to the Parthenon (shown in the Doric section above). The Little Rock AME Zion Church in downtown Charlotte is a good example showing Ionic columns. It was built in 1911 and designed by J. M. McMichael. Mr. McMichael did not like steeples, so the church has instead two cupolas [the short towers you see] on the top, one on the left and one on the right. Corinthian DESCRIPTION: The Corinthian order is the most decorative and is usually the one most modern people like best. Corinthian also uses entasis to make the shafts look straight. The Corinthian capitals have flowers and leaves below a small scroll. The shaft has flutes and the base is like the Ionian. Unlike the Doric and Ionian cornices, which are at a slant, the Corinthian roofs are flat. The Temple of the Sybil in Rome is a good example of the Corinthian order. The Romans used the Corinthian order much more than did the Greeks. This building is the Charlotte City Hall . City Hall has pairs of Corinthian columns and the typical flat Corinthian roof. The coumns have entasis.

If you go see City Hall in person, the shafts will look straight to your eye, but they aren't! Designs like this, which are inspired by ancient buildings, are know as neoclassical. There are also two other types of classical orders, the Tuscan and the Composite. The Tuscan order is very plain, with a plain shaft, a simple capital and base, and a plain frieze. The Composite order is a combination of the Ionic and Corinthian orders. This page was created and designed by Bruce R. Schulman for the Charlotte-Mecklenburg Historic Landmarks Commission. order | architecture | Britannica.com architecture Alternative Titles: order of architecture, order of architecture Related Topics Abraham Bosse Order, also called order of architecture, any of several styles of classical or Neoclassical architecture that are defined by the particular type of column and entablature they use as a basic unit. A column consists of a shaft together with its base and its capital. The column supports a section of an entablature, which constitutes the upper horizontal part of a classical building and is itself composed of (from bottom to top) an architrave, frieze, and cornice.

The form of the capital is the most distinguishing characteristic of a particular order. There are five major orders: Doric, Ionic, Corinthian, Tuscan, and Composite. Capital styles for the five major orders of Classical architecture. © Merriam-Webster Inc. There are many separate elements that make up a complete column and entablature. At the bottom of the column is the stylobate; this is a continuous flat pavement on which a row of columns is supported. Rising out of the stylobate is the plinth , a square or circular block that is the lowest part of the base. Atop the plinth and forming the remainder of the base are one or more circular moldings that have varying profiles; these may include a torus (a convex molding that is semicircular in profile), a scotia (with a concave profile), and one or more fillets , or narrow bands. The five orders Encyclopædia Britannica, Inc. The shaft, which rests upon the base, is a long, narrow, vertical cylinder that in some orders is articulated with fluting (vertical grooves). The shaft may also taper inward slightly so that it is wider at the bottom than at the top.

Atop the shaft is the capital , which serves to concentrate the weight of the entablature on the shaft and also acts as an aesthetic transition between those two elements. In its simplest form (the Doric), the capital consists (in ascending order) of three parts; the necking, which is a continuation of the shaft but which is set off from it visually by one or more narrow grooves; the echinus, a circular block that bulges outward at its uppermost portion in order to better support the abacus ; and the abacus itself, a square block that directly supports the entablature above and transmits its weight to the rest of the column below. Similar Topics chimney The entablature is composed of three horizontal sections that are visually separated from each other by moldings and bands. The three parts of the entablature (in ascending order) are called the architrave , frieze , and cornice . The unit used in the measurement of columns is the diameter of the shaft at the base; thus, a column may be described as being eight (lower) diameters high.

Ancient Greek architecture developed two distinct orders, the Doric and the Ionic, together with a third (Corinthian) capital, which, with modifications, were adopted by the Romans in the 1st century bc and have been used ever since in Western architecture . The Doric order is characterized by a slightly tapered column that is the most squat of all the orders, measuring in height (including the capital) only about four to eight lower diameters. The Greek forms of the Doric order have no individual base and instead rest directly on the stylobate, although subsequent forms of Doric frequently were given a conventional plinth-and-torus base. The Doric shaft is channeled with 20 shallow flutes. The capital, as stated before, consists of a simple necking; a spreading, convex echinus; and a square abacus. The frieze section of the Doric entablature is distinctive. It is composed of projecting triglyphs (units each consisting of three vertical bands separated by grooves) that alternate with receding square panels, called metopes , that may be either plain or carved with sculptured reliefs.

The Roman forms of the Doric order have smaller proportions and appear lighter and more graceful than their Greek counterparts. Engraved plate depicting the Doric order, from the first edition of the … Encyclopædia Britannica, Inc. Ringling Bros. Folds Its Tent The Ionic order differs from the Doric in having more flutes on its shaft and in the scrolls, or volutes , that droop over the front and rear portions of the echinus in the capital. The echinus itself is carved with an egg-and-dart motif. The height of the entire Ionic order—column, base, capital, and entablature— is nine lower diameters. The base of the column has two tori (convex moldings) separated by a scotia. The shaft, which is eight lower diameters high, has 24 flutes. On the entablature, the architrave is usually made up of three stepped fasciae (bands). The frieze lacks the Doric triglyph and metope, and hence this area can hold a continuous band of carved ornament , such as figural groups.

Engraved plate depicting the Ionic order, from the first edition of the … Encyclopædia Britannica, Inc. Technological Ingenuity The Corinthian order is the most elegant of the five orders. Its distinguishing characteristic is the striking capital, which is carved with two staggered rows of stylized acanthus leaves and four scrolls. The shaft has 24 sharp-edged flutes, while the column is 10 diameters high. Engraved print depicting the Corinthian order, from the first edition of the … Encyclopædia Britannica, Inc. The Tuscan order is a Roman adaptation of the Doric. The Tuscan has an unfluted shaft and a simple echinus-abacus capital. It is similar in proportion and profile to the Roman Doric but is much plainer. The column is seven diameters high. This order is the most solid in appearance of all the orders. Engraved print depicting the Tuscan order, from the first edition of the Encyclopædia … Encyclopædia Britannica, Inc. The Composite order , which was not ranked as a separate order until the Renaissance , is a late Roman development of the Corinthian.

It is called Composite because its capital is composed of Ionic volutes and Corinthian acanthus-leaf decoration. The column is 10 diameters high. Engraved print depicting the Composite order, from the first edition of the … Encyclopædia Britannica, Inc. The Doric and Ionic orders originated nearly simultaneously on opposite shores of the Aegean Sea; the Doric on the Greek mainland and the Ionic in the Greek cities of Asia Minor . (The volutes of the Ionic capital were adapted from Phoenician and Egyptian capital designs.) The Doric may be considered the earlier order of the two only in its developed form. Both orders originated in temples constructed out of wood. The earliest well-preserved example of Doric architecture is the Temple of Hera at Olympia , built soon after 600 bc. From these beginnings, the evolution of the stone Doric column can be traced in architectural remains in Greece , Sicily , and southern Italy, where the Doric was to remain the chief order for monumental buildings for the next eight centuries. Connect with Britannica Facebook Twitter YouTube Instagram Pinterest The Greeks as well as the Romans regarded the Corinthian as only a variant capital to be substituted for the Ionic.

The first known use of a Corinthian capital on the outside of a building is that of the choragic Monument of Lysicrates (Athens, 335/334 bc). The Corinthian was raised to the rank of an order by the 1st-century-bc Roman writer and architect Vitruvius. The Romans adopted the Doric, Ionic, and Corinthian orders and modified them to produce the Tuscan order, which is a simplified form of the Doric, and the Composite order, which is a combination of the Ionic and Corinthian orders. Another Roman innovation was the superposed order ; when columns adorned several successive stories of a building, they were normally of different orders, in an ascending sequence from heaviest to most slender. Thus columns of the Doric order were assigned to the ground floor of a building, Ionic ones to the middle story, and Corinthian or Composite ones to the top story. To avoid the complications of separate orders for each story, the architects of the Renaissance invented the Colossal order , which is composed of columns extending the height of two or more stories of a building. Vitruvius was the only ancient Greek or Roman writer on architecture whose works survived the Middle Ages.

When his handbook for Roman architects, De architectura, was rediscovered in the early 15th century, Vitruvius was at once hailed as the authority on classical architecture. Based on his writings, Italian architects of the Renaissance and Baroque periods developed an aesthetic canon that established rules for superposing the classical orders. The architects also laid down rules for the proportions of the orders and their parts down to the most minute members. The exact proportional dimensions of every element of an order was specified, so that, given the diameter of the column or any other dimension, the entire order and all of its separate elements could be reconstructed through routine calculations. The rules were thus carried to extravagant lengths that were undreamed of by the Greeks and rarely observed by the Romans. Britannica Lists & Quizzes Doric Columns & the Doric Order & the Doric Order of Classical Architecture Doric Columns have a firm place in history and in the tradition of classical architecture. The ancient styles of construction developed in Greece and Rome were revived and codified by Renaissance architects and scholars such as Giacomo da Vignola (1507-1573) and Andrea Palladio (1508-1580).

They became known as the Five Orders: The Tuscan Order (Roman) The Doric Order (Greek and Roman) The Ionic Order (Greek and Roman) The Corinthian Order (Greek and Roman) The Composite Order (Roman) These styles were revisited when the Greek Revival movement in the late 18th and early 19th century brought the elements of classical architecture back into vogue. The orders continue to be the basis for many buildings, particularly public buildings where there is a desire to express permanence, confidence and a continuity with the past. While public buildings may adhere to many of the principles defined in a specific order, smaller buildings, such as homes, may simply adopt columns that are influenced by one of the orders. Defining the Orders As defined by Vignola, Palladio and other writers, each of the five orders establishes guidelines for the characteristics, details and proportions of architectural elements such as the column and its parts and the entablature and its parts. As far back as the Roman writer Marcus Vitruvius Pollo (circa 80-70 BCE), there has been a tradition to use the diameter at the base of a column as a unit of measurement.

So, for example, the height of the entablature of in the Doric order may be referred to as being 2 diameters, while the height of a column may be referred to as being 6 or 7 diameters. Characteristics of the Doric Column The order encompasses the entire building system columns and entablature , while individual columns have characteristics belonging to one of the orders. In ancient Greece, Doric columns were stouter than those of the Ionic or Corinthian orders. Their smooth, round capitals are simple and plain compared to the other two Greek orders. A square abacus connects the capital to the entablature. In Greece, the Doric column was placed directly on the pavement or floor without benefit of a base. Examples of Doric columns in the Greek style include: the Heraeum at Olympus (590 BCE), the Basilica at Paestum (about 530 BCE) and the Parthenon (447-432 BCE). When the Romans adopted Doric columns for their buildings, changes were made. Roman Doric columns tend to be slimmer than the Greek Doric columns.

At their base, Roman Doric columns are usually adorned with the Attic base, composed of an upper and lower torus separated by a scotia with fillets . Instead of being placed directly on the floor or platform, Roman columns stand on pads or plinths . Characteristics of the Doric Entablature The triglyphs and metopes are among of the most distinctive and definitive features of the Doric order. Triglyphs appear centered above every column, a stylized representation of the ends of wooden beams as used in post and beam construction. In addition, one or two triglyphs appear between the columns. Metopes, the space between the triglyphs, are ideally square in shape and they may be plain or decorated with relief forms. Below each triglyph are corresponding guttae that appear like pegs used to lock or stabilize the beams. The Doric Conflict The strict rules for positioning of elements in the entablature led to a design problem when the Greek's material changed from wood to stone blocks. In wooden temples, the triglyphs were literally the ends of wooden beams and they were spaced evenly and centered when they were directly above a column.

When construction materials for temples changed from wood to stone block, the stone architrave needed full support all the way to the ends. A controversy arose regarding the proper placement of the triglyph and the formation of the corner. The design issues and ensuing debate became known as the Doric Conflict. In some cases, the triglyph was placed at the corner. This changed the proportions of the metopes closest to the corner and they were no longer square. In addition, the triglyph was not perfectly centered over the column. In other cases, builders used a broader triglyph that extended to the corner, but this also disturbed the harmony of the entablature. The Roman's solution to the Doric Conflict was to leave a blank space between the final triglyph and the corner, as shown in the example to the right. Ancient Greece - Art and Architecture, Sculpture, Pottery and Greek Temples Sculpture and Art Architecture in ancient Greece: Greek life was dominated by religion and so it is not surprising that the temples of ancient Greece were the biggest and most beautiful.They also had a political purpose as they were often built to celebrate civic power and pride, or offer thanksgiving to the patron deity of a city for success in war.

The Greeks developed three architectural systems, called orders, each with their own distinctive proportions and detailing. The Greek orders are: Doric, Ionic, and Corinthian. Doric The Doric style is rather sturdy and its top (the capital), is plain. This style was used in mainland Greece and the colonies in southern Italy and Sicily. Ionic The Ionic style is thinner and more elegant. Its capital is decorated with a scroll-like design (a volute). This style was found in eastern Greece and the islands. Corinthian The Corinthian style is seldom used in the Greek world, but often seen on Roman temples. Its capital is very elaborate and decorated with acanthus leaves. Doric Order: Parthenon - temple of Athena Parthenos ("Virgin"), Greek goddess of wisdom, on the Acropolis in Athens. The Parthenon was built in the 5th century BC, and despite the enormous damage it has sustained over the centuries, it still communicates the ideals of order and harmony for which Greek architecture is known. Ionic Order: Erechtheum - temple from the middle classical period of Greek art and architecture, built on the Acropolis of Athens between 421 and 405BC.

The Erechtheum contained sanctuaries to Athena Polias, Poseidon, and Erechtheus. The requirements of the several shrines and the location upon a sloping site produced an unusual plan. From the body of the building porticoes project on east, north, and south sides. The eastern portico, hexastyle Ionic, gave access to the shrine of Athena, which was separated by a partition from the western cella. The northern portico, tetrastyle Ionic, stands at a lower level and gives access to the western cella through a fine doorway. The southern portico, known as the Porch of the Caryatids (see caryatid) from the six sculptured draped female figures that support its entablature, is the temple's most striking feature; it forms a gallery or tribune. The west end of the building, with windows and engaged Ionic columns, is a modification of the original, built by the Romans when they restored the building. One of the east columns and one of the caryatids were removed to London by Lord Elgin, replicas being installed in their places.

The Temple of Apollo at Didyma - The Greeks built the Temple of Apollo at Didyma, Turkey (about 300 BC). The design of the temple was known as dipteral, a term that refers to the two sets of columns surrounding the interior section. These columns surrounded a small chamber that housed the statue of Apollo. With Ionic columns reaching 19.5 m (64 ft) high, these ruins suggest the former grandeur of the ancient temple. The Temple of Athena Nike - part of the Acropolis in the city of Athens. The Greeks built the Temple of Apollo at Didyma, Turkey (about 300 BC). The design of the temple was known as dipteral, a term that refers to the two sets of columns surrounding the interior section. These columns surrounded a small chamber that housed the statue of Apollo. With Ionic columns reaching 19.5 m (64 ft) high, these ruins suggest the former grandeur of the ancient temple. Corinthian Order: - most ornate of the classic orders of architecture. It was also the latest, not arriving at full development until the middle of the 4th cent. B.C.

The oldest known example, however, is found in the temple of Apollo at Bassae (c.420 B.C.). The Greeks made little use of the order; the chief example is the circular structure at Athens known as the choragic monument of Lysicrates ( 335 B.C.). The temple of Zeus at Athens (started in the 2d cent. B.C. and completed by Emperor Hadrian in the 2d cent. A.D.) was perhaps the most notable of the Corinthian temples. <a href=' target='_blank'><img src=' &amp;n=a2ea57fb' border='0' alt='' /></a> Acropolis Acropolis in Greek means "The Sacred Rock, the high city". All around the world the Acropolis of Athens is known as 'The Acropolis'. There are many Acropolises in Greece but the Acropolis of Athens is the best known. The Acropolis is primarily dedicated to the Goddess Athena. But humans from the prehistoric era have populated the Acropolis and the caves around it. Situated in the middle of Athens, many myths, festivals and important events are connected to the sacred Acropolis.

The Acropolis echoes the grandeur and the power of the Athenian empire.... more » Parthenon Work began on the Parthenon, built on the Acropolis, in 447 BC to replace an existing temple which was destroyed by the Persians in 480 BC and cost 469 silver talents to build. The work began under the orders of Pericles to show the wealth and exuberance of Athenian power. The name of the building most likely came from a cult statue of Athena Parthenos housed in the eastern room of the building. This magnificent structure was built of ivory and gold and was sculptured by the renowned sculptor Phidias. As with most buildings on the Acropolis it was dedicated to Athena to thank the Goddess for their success. The Parthenon was finally finished in 432 BC and was to show the world the dominance and power of Athens. The vast majority of the money used in the construction came from the Delian League funds. The Delian League was a treaty between the Greek states in league against the Persian Empire.

However two years before work started on the Parthenon, the Athenians had struck a peace treaty with the Persians ending the war, although the League continued to exist. It is believed that because of this the league stopped being a mutual defence against Persia but part of the Athenian Empire. This theory was reinforced when Athens moved the Leagues treasury from the Pan-Hellenic sanctuary at Delos to the Parthenon (Opisthodomos room). Not only was the Parthenon a magnificent structure to look at, but it also showed Athenian dominance over the rest of the Greek peninsula and that Athens was its Greek imperial master. more » Sculpture Greek art and sculpture has had a profound effect throughout the ages. Many of the styles have been reproduced and copied by some of what the modern day audiences would class as some of the finest artists to have ever lived e.g. Michelangelo. Western art and sculpture derived from Roman art, while in the East, Alexander the Great's conquest gave birth to Greco-Buddhist art, which has even had an influence as far as Japan all of which stem from ancient Greek art. The Greeks used many different types of materials in their sculptures including stone, marble and limestone as these were abundant in Greece.

Other materials such as clay were also used but due to their brittle nature very few have survived. Greek sculptures are very important as the vast majority of them tell us a story about Gods, Heroes, Events, Mythical Creatures and Greek culture in general. Many of the statues that have survived are actually of Roman origin. Like many people today the Romans had a deep respect for Greek sculptures and many were copied. If the Romans had not made these copies, many of the Greek Legends and stories that we know today would have been lost to antiquity. Greek sculptures are mainly divided into 7 time periods - Mycenaean Art, Sub-Mycenaean or Dark Age, Proto-Geometric, Geometric Art, Archaic, Classical and Hellenistic. more »

Question: The 'Greek Orders' are the three original classic orders of architecture, namely 'Doric', 'Ionic' and which other?
Answer: CORINTHIAN